Review: Mystic instrumentals from the south west area courtesy of Mr Mitch's irrepressible Gobstopper label. Odeko makes his EP debut with four future-focused adventures in the exciting fertile land between experimental grime and glistening, formula-free electronica. From the pulsating subs and wavy melodic twangs of "Setsuko" to the shimmering-but-mangled harp echoes of "Sugar Acid", very few parallels can be made bar, perhaps, Chinese grime aficionado Swimful. Far East by inspiration, far out by design, Odeko is on to something special here.

Review: Fresh from his #DontFreakOut mixtape, the Darqman returns with another cavalcade of fusions. "Hallucinate" says it all; crisp layers of synths twinkling and flexing over swaggering beats and groaning reese, it's all of rave's many nuances smelted down into a smoking 140 mould. "Flabbergasted" continues the theme with evocative synth lines that rise and rise like a delicately composed horror movie score while "2CI" pays respect to the hippy massive with a deeply trippy-borderline-paranoid spike-jam. Drawing to a close the south Londoner unleashes more poison with the frenetic, hornets-nest riffage of "Mosquito Bite" and the widescreen, jungle-referencing breakbeat anthemity of "Venom". Truly unique.

Review: Making the leap from 50 Weapons (RIP), German darkmonger Phon O makes the logical leap to Tectonic. And he does so with three barren break-based constructs: "Mercurial" is all about the deep space breakbeats and groaning high-end bass slurs, "U8 Phunk" carries classic electro elements in its synths while the au-natural snare rolls suggest more of a militant march, finally "Bell Blender" takes the bleak dynamics established throughout the previous tracks and repurposes them in a modern day jungle amen-shattering framework. The results are beyond satisfying.

Review: Elysia Crampton came through for the first time this year with a pair of EP's, one for the impressive Boomkat Editions and another for the fledgling Total Stasis. Her latest piece of work appears on bass wizard Falty DL's label, the ambiguously named Blueberry Records. Much like her previous outings, "American Drift" is a mixture of many moods and styles, a blend of slow, meditative vocals and starry electronic atmospherics. "Axacan", on the other hand, is backed by a mi-tempo percussive swagger and boasts the same level of melodic psychedelia, while "Petrichrist" heads down tribal roads with its organic drums and odd waves of flutes, and "Wing" takes things down to r&b levels....far-out r&b levels that is! Recommended.

Review: Sigha's Our Circula Sound label returns for what might be its most impressive record to date, the debut of Positive Centre. Taking its cues from the likes of Andy Stott, Samuel Kerridge, Fishermen and the rest of the techno axis exploring slower tempos, none of the tracks on An Assembly go much above 115BPM, but they're filled with atmosphere and barely concealed dread; the title track sees blackened bass tentacles rippling around thick kick drums, while "Otherwise Black" sees droning textures surrounded by dub mechanics. Tracks like "The Stations Of Section" and "Plumes Of Chasm" meanwhile sound an nihilistic exploration of watery dub, like Porter Ricks' impressionistic undersea realms destroyed by a deepwater oil spill. An impressive debut and a producer to watch closely.

Review: France meets the Balkans on this tasty double-up from two of deep bass music's finest, most forward-looking operators. Von D takes the wheel first: a deliciously stately kick stomps along unhurried as a thick layers weave in and out of the mix with cosmic allure. Egoless switches mid-journey with a much darker design. Again, the pace is slow but the energy and weight is undeniable as the rusty sound bass groans under the pressure of it all. Serious system stuff, right here.

Review: Near mythical version of a Plastikman classic from a man who'll remain unnamed, "Ask Yourself" enjoys a rare repress and you'd be wise not to sleep on it. Retaining all the alien isolation and spooked out allure of the original but with rolling drums and a sub powerful enough to heat the whole of Croydon, this remains a matchless piece of remix craft. No questions asked.

Review: Following last year's sudden reappearance on Trusik, Tony Williams (most commonly known these days as Addison Groove) has clearly rekindled his love for 140 music in a major way. Not only with brand new originals, but the re-launch of his hugely respected Transistor imprint. It's a fittingly delicious release to relaunch with, too... "Atijo" is a rolling techno-influenced jam with gritty analogue edges to the relentless bass while "Ina" follows the similar energy but with very subtle African folk samples and lilting piano vapour trails. Welcome back Headhunter!

Review: Fresh from his cavalcade of beats on WPF, Dullah makes his Oil Gang debut and it's every bit as shiny and slick as you'd expect as toxic dollops of drama hang of every cinematic dynamic. Instant hench appeal is created with the strings on "Ballys On", sci-fi synths seduce the cosmic mover in the most chiselled of Gs on "Time" while Oil Gang get their own theme tune by way of floaty synth chimes and a classic b-boy bass funk. Throw in the self-fulfilling "Floating" and you've got yourself a winning document. Never a Dullah moment at Oil Gang eh?

Review: Having announced this in September 2015, San Diego's Banana Stand South have eked out a dangerously long lead time on delivery on this. But, as those who've been pensively waiting will attest, the wait is worth it: Fill Spectre's "Battle For Spice" shakes with both a funky percussion and a devilish detuned bassline. Complete with a peppering of surprises and twists in the tales, this battle is of war-like proportions. Krome's "Distinct Motive" is slightly more conventional with its halftime beat but the crying bass groans that spiral further and further into paranoid chaos create a unique character. Especially when the added sub comes in at the last minute. Freaky.

Review: Irrelevant presents his debut single on fledgling London imprint Kokeshi - introducing a sound that fits snugly alongside the current genre benders that muddy the borders between, techno, dubstep and electronica. "Better Off In Me" sees Irrelevant drown the vocal talents of the distinctly named Brad Sucks in a pensive, subaqueous soundscape propelled along by clanking metallic rhythms. It's easily the sort of thing Jamie Woon or Burial and a vocalist could be responsible for, and might possibly cross over into wider recognition. Soul:R don Calibre adds some weight with a B Side remix that retains the creeping aqua rhythms but implements a haunting 2 step vibe brilliantly.

Review: Bristol badness: Blacklink deliver another limited vinyl-only beat collection and every track's an under-the-counter creeper. Strict Fact takes Britney's finest and sullies it up with grimy stickiness, Tarquin does that jazz thing that sits somewhere between MJ Cole and Derrick Carter, Marcx gives Ciara the ride of her life while Grizzle closes the show on a pitched up Trey Songz wavey flex. Limited and not likely to see digital release.

Review: Following last year's celebration of his seminal "Pulse X", White Peach return to the don's small-but-perfectly formed vaults for an equally grand take on the legendary bounce-bass 4x4 cut from 2002. Short, sharp and such a joy to mix and cut, it remains just as crisp now as it did 14 years ago. But that's not to say a few contemporisations wouldn't go amiss... Hi5Ghost retains the depth plunge bass and 808 ricochet hits, Kahn & Neek throw in all the glitches and switches on their take while Astral Black's prize bang clapper brings SMS sexy back with his sub-heavy slight jukey version. Drink it up.

Review: Few crews are doing it quite as well as Boxed. Tapping down a real root note in their grime/beats fusions, each EP (and each party they host) knows when to keep it deep and when to really slap it out silly. This beautiful contrast can often be found within one tune. "Mashman Riddim", for example, warms up with swooning wavey synth textures before dropping into a riff that lives up to its name. Elsewhere the ubiquitous Mr Mitch pays respect to Burial, JT The Goon dusts off his flutes for an alien-charming drama session that could score the sequel to Braveheart while Sir Pixalot returns to his Newham Generals-endorsed "All In One" with a VIP that really does slap us about silly.

Review: Instrumental grime pioneers Boxed stay fixed to the split artist approach on their second 12", scoring cuts from Logos, Iglew, Jawside and a Spooky & Boylan collaboration. For those unable to attend the regular Boxed dances throughout London and beyond, this is a great snapshot of some of the music that soundtracks them with collective co-founder Logos leading the charge. His "Marked 4 Death Gunman" flips the classic Slewdem crew Gunman riddim, adding his own hardcore twist with "Lullaby" from Gobstopper graduate Iglew offering a neat thrust between moments of calm and chaos. Spooky & Edgem Records artist Boylan trace a line between South and East London on "Peckham to Hackney" whilst Oxford-based newcomer Jawside closes out the 12? with hyper-effective angular dancefloor bomb "Blurred Rain."

Review: Brazilian dubstep in all its hot-blooded glory; Oxossi has delivered an incredible package right here... "Rollers" packs a big bad punch in its swagger before dropping into the starkest, trippiest piano breakdown you've ever heard. "6 Under" flips our focus to the beats as we swathe through a swampy arrangement of far-out noises and off-beat rhythms. "Kadian Dub" is the real screwface of the set with its higher-end riff (think Coki's "Don't Get It Twisted"). Finally we hit the soft organ skanks of "Couch Dub" for those moments when the dance needs just a touch more light. Powerful.

Review: Strictly G business; Kromestar's consistently sought-after Iron Soul sounds enjoy a limited pressing. Both sides of his coin are display: between the west coast synth funk of "Carbon" and the gully, punctuated steps and slams of "Banter" you have a clear view of this dark knight's abilities and sense of groove and weight. Double-sided, both winners - whichever way you flip the coin. We need more productions like this.

Review: Barely a fortnight has passed since the gully Frenchman we know and love as Monsieur Von D shared an exceptional release with Egoless and already he's back. This time he's on Infernal Sounds, which is already proof of its quality - considering how selective and detail-oriented the label have been since launching two years ago. "Cross Of Hendaye" is a solid mechanical roller with heaps of human funk coded into the waspy bassline. "Remember" is a straight up homage to the early days with a sub that palpitates so heavily and tangibly your own heartbeat will sync within seconds. True to the craft.

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